Boris BORIS / Attention Please/Heavy Rocks (Sargent House)



Two co-released new records exhibit Japanese arty metal crew Boris’ radical messarounds with genres seemingly numbering in the dozens. It’s a typically untypical bent from this proudly schizoid crew that has never claimed to truly understand the heavy sounds they explore, their idea being that getting it all “wrong” will invariably lead to amazing new discoveries. The band’s twin current mutated fascinations fly ever further away from the ostensibly “metal” or hard rock roots from which they grew on the moody Attention Please, replete with an after-closing disco decadence of wasted robot beats and insinuating synth coils, an urgent but kinda detached emphasis on steamy, sexy noir; its heaviness is largely implied in highly melodicized tunes that feature the wistful but unintelligible vocal emissions of guitarist Wata, such as the brooding but tension-filled title track in which Wata gets your attention like the teacher who deliberately talks very quietly; “Hope”’s driving, punky beat is sweetly laced with Mellotron frippery but slotted through with metallic rifferini; on “Party Boy,” Wata’s vocal coo darts in and out of buzzy synths atop distorto bass slabs and a thumpthump four-to-the-floor. The band’s newfound melodic grace shines on “See You Next Week” and “Tokyo Wonder Land” despite the subtly insistent scree of e-guitar and about a thousand obscure wisps of electronic sound. Meanwhile, Boris has also issued Heavy Rocks, a companion piece/updating of the album of the same title of 2002. As the title semi-jokingly indicates, you get the far more brontosaurus-stomp side of the band, though as a smearing of the metal palette it’s decidedly of a piece with the tracks on Attention Please. Tracks like “Riot Sugar” and “Leak -Truth, yesnoyesnoyes” do battle with low-end, headbang and out and out noise, from doomy sludge to Deep Purple-esque mini-epics to that Metallica-esque hash of thrash unto classic hard rock.






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